


Frankenstein's Monster

by RedGold



Series: Timeless: Season Three: Radial Waves [3]
Category: Timeless (TV 2016)
Genre: But it's okay, Claire Claremont, Council of Elders, Denise is a badass, Elise Duvillard, Flynn and Mary Shelley bonding, Frankenstein - Freeform, Gen, Jiya is in charge, John William Polidori, Knowledge is knowing Frankenstein is not the monster., Lord Byron - Freeform, Lucy actually talks to her half-brother, Lucy confronts her father, Mary Shelley - Freeform, Percy Shelley - Freeform, Screenplay/Script Format, Wisdom is knowing that Frankenstein is the monster., Wyatt is a disaster, but not as big a disaster as Percy Shelley, count the metaphors, the team goes back to 1816 without Lucy
Language: English
Status: Completed
Published: 2018-10-03
Updated: 2018-10-09
Packaged: 2019-07-24 11:32:16
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 6
Words: 14,917
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/16174205
Author URL: https://archiveofourown.org/users/RedGold/pseuds/RedGold
Summary: Lucy finally confronts her biological father, Benjamin Cahill, and she wants answers about Rittenhouse and the Council of Elders. Lucy must face some awful truths about herself, her family, and her place in Rittenhouse. And can she accept her half-brother, whom she has only met once? Now eighteen, he's been floundering ever since his father was arrested and he learned of his own role in Rittenhouse.Meanwhile, the team discovers that Rittenhouse has a sleeper on Mary Shelley, the author of the first science fiction novel. Finally ahead of Rittenhouse for once, the team needs to get to the sleeper before the Mothership jumps and they are activated. This means once again going back in time without Lucy... but it's okay, this time, Jiya's in charge.





	1. Teaser

**Notes for the Chapter:**

> Here is the third episode in my supposed season three. Like episodes of a television series, they can technically be read individually (with use of the Previously On). But if you would like to start from the beginning, then follow the series link to the first episode "Radial Waves."
> 
> Many thanks to Leafenclaw who is my beta, soundboard, and all-around tomato lover. 
> 
> Thank you for reading, and enjoy!

_Previously… On Timeless…_  
Canon through season’s one and two (sans the tv movie). In _Radial Waves_ , Lucy, Wyatt, and Jiya go back to 1888 and affect events to where Rufus is never shot. Carol and Nicholas survive and Jiya switches with her past self so that she doesn’t have to remember Rufus dying. Only Lucy and Wyatt retain memories of the original 1888 mission and the hours that followed.

In _Barbed Wire Sunday_ , the team moves into their new headquarters, an old sanatorium that’s run down but suits their needs. Lucy, Rufus, Wyatt, and Flynn go to 1961 East Berlin when the Mothership jumps. They discover Nicholas went to bring someone else to the future. Lucy defends Flynn’s right to be on the team and not sent back to prison, because she has a feeling they’ve only seen a fraction of what Rittenhouse is capable of.

In 2018, Connor offers to continue working on the broken Rittenhouse computers. Denise asks him to keep it quiet as Wyatt is starting to become obsessive over finding Jessica. Meanwhile, Jiya discovers that it’s not just her heart murmur that’s been cured… her biology has changed…

* * *

TIMELESS

Episode #303 “Frankenstein's Monster”

**TEASER**

INT – VILLA DIODATI – LAKE GENEVA, SWITZERLAND – PARLOR – NIGHT

OVERLAY: LAKE GENEVA, SWITZERLAND - JUNE 16, 1816

The parlor of the Villa Diodati is of typical early 18th century design. Candles and a fireplace light the room, along with the occasional crack of lightning from outside. It is pouring rain which gives the area a chill look.

Three men and a woman sit around drinking wine while another woman stands at the window. The men are dressed in fine vests and silk shirts of early 19th Century fashion. The sitting woman is in a Regency (Jane Austen) style dress with opera gloves. The woman at the window is wearing a tartan dress, looking somewhat eclectic for the timeframe. All are British with corresponding accents.

The youngest of the men, John, closes a book and tosses it on the low table.

JOHN WILLIAM POLIDORI  
(twenty, dark features, handsome face)  
If I wanted to witness such drizzly weather,  
I would have stayed in England.

GEORGE GORDON BYRON  
(twenty-eight, oozes charisma)  
Oh please, why be miserable in England when you can be here,  
miserable with me? 

A chuckle is sent through the room as a servant, Mia, offers to refill their glasses.

BYRON  
How is that story of yours coming along? 

JOHN  
Splendid actually. Had the most delightful inspiration.  
What better represents a blood sucking predator that preys  
upon those they deem beneath them than an aristocratic.

BYRON  
As the 6th Baron Byron of Rochdale... I wholeheartedly approve. 

More laughter is heard through the room.

On the woman at the window who registers the conversation but ultimately seems to be finding the end of her rope being stuck in a villa with the other four.

On the woman sitting with the men.

CLAIRE CLAIRMONT  
(eighteen, curly dark hair, lively and coy)  
And what of you, sir? It was your idea to spend these  
pitiful days writing horror, such fitting to the weather.  
How has your own story come along?

BYRON  
Oh, my dear, I believe I have stumbled upon the most horrific theme of all.

CLAIRE  
Do tell.

BYRON  
Love. For was it not love that drove Paris and Troy to their ruin?  
Romeo and Juliet to their deaths? Why, the things a man, or woman,  
would do for love, or a love broken, is insurmountable to what they’d  
do for something as petty as simple rage.

PERCY SHELLEY  
(twenty-three, soft look, dark hair)  
Love is freedom and beauty. That does not speak of horror to me.

BYRON  
Love makes monsters of us all, for we will do anything for it,  
as we all very well know, Percy. 

Percy seems to take that a bit personally, but says nothing for the moment.

JOHN  
I suppose it’s all in how we define a monster.  
Certainly, love drives emotions, can drive one mad,  
but does that make one a monster?

BYRON  
Brilliant observation, as always, John.  
(to the woman at the window)  
What do you think, Mary? What makes a monster?

MARY GOODWIN  
(eighteen, strawberry blonde, enigmatic)  
I ask you one better, Lord Byron. What is more monstrous?  
The monster, or he who creates the monster? 

Off Mary as she watches the rain fall, lightning striking in the distance…

END SCENE

INT – LOMPOC FEDERAL CORRECTIONAL FACILITY – LOMPOC, CALIFORNIA – DAY

Inside a small room, void of anything but a metal table and two chairs, Lucy sits and waits. She has a baseball cap on, to help hide her identity since Rittenhouse is still after her. Lucy is uneasy, pulling the hat off her head, taking a deep breath. 

The door opens and Agent Christopher walks in. Following behind her is Benjamin Cahill, being escorted by a prison guard. He is in a prison orange jumpsuit, hands cuffed. The prison guard sets Cahill down at the table, cuffing him to a small loop on the surface so he can’t get away.

CAHILL  
(jiggling the cuffs)  
I mean, is this really necessary?

DENISE  
Probably not. 

Cahill is thoroughly put out. But the air about him is of someone who isn’t facing life in prison. It’s like he believes, or perhaps knows, Rittenhouse will get him out soon enough.

LUCY  
Thank you, Agent Christopher.  
If you could just give us some privacy,  
I’ll let you know when I’m done.

DENISE  
You sure? 

Lucy nods. This situation is awkward enough for her, all things considered.

DENISE  
I’ll be just outside the door. 

Denise exits, leaving the biological father and daughter to have a chat.

CAHILL  
You know, I warned your mother. Time travel, it’s just too messy.  
Our resources would have been better served elsewhere.  
(shrugs)  
But she’s a Rittenhouse... you’re a Rittenhouse.

LUCY  
I am not Rittenhouse. 

CAHILL  
You’re a direct descendent of David Rittenhouse himself.  
Surely Carol has told you that by now. 

Lucy looks down, there is a small moment of resistance before unfortunate acceptance.

LUCY  
Yes. She informed me of our family ancestry while  
she held me prisoner, her own daughter.

CAHILL  
And how did your friends take the news?  
That you are Rittenhouse?

LUCY  
(forceful)  
I am _not_ Rittenhouse.  
(beat)  
I met David Rittenhouse and he was a disgusting  
little man without an ounce of humanity in him.  
We might share some random DNA strands, but that’s it.

CAHILL  
(beat)  
So, you haven’t told them. 

LUCY  
(ignoring him)  
Before David Rittenhouse was put down, he mentioned a  
Council of Elders to Benedict Arnold. Does this Council still exist?

CAHILL  
It wasn’t in your grandfather’s notes?  
How is my father doing, by the way?

LUCY  
Ethan Cahill is a good man, who made a great sacrifice.  
I will claim him, but not you. 

Cahill doesn’t look to be hurt by this statement, but doesn’t seem to take it well either.

LUCY  
Now, the Council of Elders. Does it exist?

CAHILL  
(beat - considering)  
No point in keeping it a secret. You’ll find out about it soon enough.  
Honestly, I’m surprised Carol kept it from you as long as she did.  
(beat)  
Perhaps if you had seen Rittenhouse for what it truly is,  
you wouldn’t have fought against it.

LUCY  
For what it truly is?  
(disbelieving laugh)  
Trust me, I’ve seen it, and I never would have wanted any part of it. 

Cahill looks as if that was a very unfortunate thing for her to say.

LUCY  
Now, tell me about the Council of Elders. 

CAHILL  
You want me to give you their addresses, so you can  
send your Agent Christopher to arrest everyone?

LUCY  
That’d be a nice start, yeah.

CAHILL  
(proud smile)  
It’s that tenacity which sets you apart, Lucy.  
That drive, that intelligence, cleverness.  
All things we aimed to give to you.  
That Rittenhouse gave to you.

LUCY  
(not wanting to hear it)  
The Council of Elders, who are they? 

Cahill watches her for a moment. He is proud of her, even if she’s currently working against him.

CAHILL  
The first families. When David Rittenhouse gathered  
his followers, there were nine families of particular influence,  
or skill, in which he relied upon the most. John Rittenhouse  
made ample use of them when he went underground.

LUCY  
The Cahill’s were one of those families?

CAHILL  
Well, we weren’t Cahill’s at the time, but yes.  
Our family... your family, has been the most loyal,  
the most trusted, of Rittenhouse since the beginning. 

Lucy is chilled by this information.

LUCY  
Who are the other eight families?

CAHILL  
You know I’m not going to tell you that much information. 

LUCY  
Then why tell me anything at all?  
How can I even trust what you’re saying now? 

CAHILL  
(absolute surety)  
Because the time is coming, Lucy, for you to take your place  
on the Council of Elders. To take the seat of Rittenhouse.

LUCY  
(utterly horrified)  
That’s not going to happen.

CAHILL  
It was your destiny since before you were born. 

Lucy looks away and shakes her head, refusing to believe that she would ever willingly be part of Rittenhouse. What did Future-Lucy tell her that makes her especially upset about the idea?

LUCY  
(realization, emotional and raw)  
Did you and my mother have a love affair,  
or was I just some... breeding project? 

For the first time in the conversation, Lucy seems to have struck a nerve and all of Cahill’s confidence collapses into a somewhat sorrowful expression.

CAHILL  
Do you really want me to answer that? 

Lucy really doesn’t him too, not yet anyway. This being as much as she can take for one day, Lucy stands up quickly from her chair.

LUCY  
I will _never_ be a part of Rittenhouse.  
I am going to do everything in my power to destroy it.  
You want me to take the seat of Rittenhouse?  
Fine, cause I’ll light it on fire and burn it to the ground. 

Not letting him reply, Lucy moves to the door and pounds on it.

LUCY  
(loudly)  
We’re done here.

CAHILL  
You’ll come around, Lucy. 

The door opens, Agent Christopher looking at Lucy, seeing her a bit shaken. Lucy pushes past.

CAHILL  
(to himself)  
We all come around, eventually. 

Cut to...

INT – LOMPOC – HALLWAY – DAY

Lucy is shaking off her emotions, trying to calm herself and expel excess energy.

DENISE  
You okay, Lucy?

LUCY  
(hyped up from emotions)  
Yeah. I got confirmation the Council of Elders does exist.  
It’s, um, nine families. If I can just back trace the Cahill’s and  
the Keynes, when names changed, that'll give us  
a starting point to find the others.

DENISE  
(calmingly)  
That’s not what I asked. Are you okay? 

Lucy stares at Denise, unable to accurately answer that question. But having Denise there, for her, is enough to help calm her, as the woman is a stable rock that Lucy desperately needs at the moment.

LUCY  
I’m fine, I just... we need to get back.  
I need to talk to everyone.

DENISE  
(beat)  
Okay. But, before we go, there’s something else.

LUCY  
What? 

Cut to…

INT – LOMPOC – WAITING AREA – DAY

Lucy and Denise are standing in the guard’s area, looking out into the waiting room. An eighteen-year-old boy is sitting isolated off to the side. He’s waiting, looking a bit nervous or at least unsure.

DENISE  
You know who that is?

LUCY  
He’s... he’s my half-brother.

DENISE  
Jeremy Cahill. And he wants to speak with you. 

Off Lucy who doesn’t know what to do with this information…

END SCENE 

END TEASER 

TITLE CREDITS

**Notes for the Chapter:**

> Lucy's half brother is not named in the show or on the cast list (he's just listed as "teenager"). I have also not seen him referenced by name by any writers or official people from the show. I gave him the name Jeremy because it seemed fitting for him. If anyone has seen him named by an official source (or if he's named in the movie), just let me know, I will change it.
> 
> Mary, Percy, Byron, John, and Claire are all real individuals who were there, at Byron's villa, when Mary came up with the idea to write "Frankenstein." This was after Byron suggested they all write ghost stories because they were very much bored. A volcanic eruption caused that summer to be very rainy and dreary, there wasn't much else to do. 
> 
> While most of their conversations will be poetic license, and I just created staff/servants (like Mia), anything represented as a fact is taken from research. I will elaborate in notes as the story progresses.


	2. ACT I

TIMELESS 

Episode #303 “Frankenstein’s Monster”

**ACT I**

INT – TIME TEAM HQ – OLD OFFICE – DAY 

Connor Mason sits in what might have been an administrator's office at some point in the past. The damaged computers from Rittenhouse HQ are scattered about. Connor is trying to recover more information, concentrating as he connects a damaged hard drive to a laptop. He types away intently. 

On screen where the file name “assignment list.docx” can be seen. Opening the file reveals nothing but gibberish.

CONNOR  
Corrupted, of course.  
Like that’s ever stopped me.

Connor continues to work, trying to recover what data he can.

On computer screen as some of the gibberish starts to make words. 

Cut to... 

INT – TIME TEAM HQ – GYM – DAY 

A sofa, coffee table, and LCD tv has been moved into the gym, making a small lounge area similar to the bunker. The tv is currently showing a two-player shoot ‘em up style game. Rufus and Jiya are sitting on the sofa, laughing and trying to utterly destroy each other. 

Jiya wins and rubs it in with a nudge and laugh.

RUFUS  
Three years you haven’t played this game and yet... 

JIYA  
You’re never going to beat me, Rufus.  
Just accept this and bow down to your queen. 

RUFUS  
Yes, m’lady. 

Rufus kisses Jiya and they start to make out. For this moment in time, they can forget about everything hanging over their heads. Rufus’ death. Jiya’s visions and the three-year gap. Rittenhouse.

SFX – The double doors of the gym opening and slamming back shut. 

The two pull away like guilty teenagers, but smiling. 

Medium POV shows Connor and Flynn approaching, Connor carrying a piece of paper.

CONNOR  
(gesturing to the tv)  
When did that get here? 

RUFUS  
This morning. It’s Agent Christopher way of making up for this place being haunted. 

FLYNN  
It’s not haunted. 

RUFUS  
Dude, it is totally haunted. 

FLYNN  
(dad voice)  
Do I need to check under your bed for monsters? 

Rufus is not amused, Jiya on the other hand is having a merry ol’ time at his expense.

CONNOR  
(exasperated)  
Does Goodwin 1816 mean anything to either of you? 

RUFUS  
(looking at Jiya)  
No. Don’t think so. 

JIYA  
Sounds oddly familiar, actually. 

Connor shows them the paper. It’s mostly gibberish but there are some areas highlighted.

CONNOR  
I found a word doc on the damaged Rittenhouse computers.  
I showed it to our resident Rittenhouse expert here and  
we figured out it’s a list of the sleepers. 

RUFUS  
(pointing at paper)  
Oh, yeah. He tried to kill me. And her. And them. 

JIYA  
Alice as in Alice Paul? She was a target, right? Lucy said  
she was a big women’s rights activist until Rittenhouse killed her. 

FLYNN  
This is a list of sleepers and their targets.  
Everything readable is accountable for, except Goodwin 1816. 

CONNOR  
Google was no help. 

RUFUS  
It wasn’t in the journal? 

FLYNN  
No. And none of the agents I took out had  
anything with that name or year on them. 

RUFUS  
We can run it by Lucy when she gets back,  
maybe she’ll make better sense out of it. 

SFX – Rattle of the gym doors.

Group POV shows Wyatt walking up having just entered the gym.

WYATT  
Anyone heard from Lucy or Agent Christopher? 

RUFUS  
Nah, man. Hey, does Goodwin 1816 mean anything to you? 

WYATT  
Goodwin? No, I don’t think so. Why? 

CONNOR  
(quickly)  
We have reason to believe it has something  
to do with a yet unaccounted for sleeper. 

WYATT  
How did you come by it? 

Connor doesn’t want to answer because of what he promised Denise.

JIYA  
(loud)  
Oh, shit! 

RUFUS  
Jiya? 

JIYA  
Goodwin, 1816, I know what it means! 

Cut to... computer screen, the Wiki article over Mary Shelley is clearly visible.

On Jiya sitting at the computer desk with Rufus next to her. Connor and Wyatt are standing not far off. Flynn is leaning against another table.

JIYA  
Okay, so, Mary Shelley started writing _Frankenstein_  
in June of 1816. At the time she wasn’t technically married  
to Percy Shelley, so she was still Mary Goodwin. 

WYATT  
Goodwin, 1816, I buy it, but why would Rittenhouse care about a horror novel? 

JIYA  
It’s not just a horror novel, it’s the _first_ science fiction novel. 

WYATT  
It was? 

CONNOR  
Yes, you see, _Frankenstein_ was the first novel in which  
applied science was a driving force of the narrative. The science  
was wrong, of course, we know that, but, Victor Frankenstein was  
experimenting, trying to achieve something fantastic by scientific means. 

FLYNN  
He wasn’t entirely wrong in his thinking. We use electricity  
to bring people back all the time. It’s called a defibrillator. 

WYATT  
That’s cool and all, but I’m still failing to see the connection to Rittenhouse. 

JIYA  
I think Rittenhouse wants to derail scientific advancement. 

WYATT  
By erasing _Frankenstein_? 

JIYA  
Yes. 

WYATT  
Okay. I believe you, but how? 

JIYA  
Art and science advances because people see  
what came before them, and take it further. 

Jiya struggles for a second to make herself, and the situation, more clear.

JIYA  
Remember Doc Brown talking about Jules Verne inspiring him as a kid?  
How shows like Star Trek influenced so many people to go into scientific study? 

CONNOR  
I, myself, was greatly influenced by Doctor Who. Without it,  
well, I’d still be an insanely brilliant scientist, of course, but  
I would have never turned my eye towards time travel. 

JIYA  
Exactly. Science tries to create what art imagines. And the creation  
of the first science fiction novel is a huge step in that process. 

CONNOR  
Someone will eventually be the first to use science to  
ground a fantasy, perhaps Jules Verne himself, but any delay  
in the process, is a delay in our own scientific advancement. 

WYATT  
So, without _Frankenstein_ for science and art to build on,  
we’d all be living in a steampunk world? 

RUFUS  
I’m impressed you know that word. 

JIYA  
No, I mean, it wouldn’t be that bad. We wouldn’t still be in  
the Industrial Age. But if Rittenhouse succeeds, then the Mothership  
could return to a world using 1990s technology, or something. 

CONNOR  
Emma could single-handedly bring about a digital revolution. 

FLYNN  
And on Rittenhouse’s terms. 

WYATT  
Yeah, that would be bad. 

JIYA  
And what’s worse, if they succeed while we’re still in the present,  
then we never meet, we never team up to stop Rittenhouse,  
and worse, it’ll erase the Lifeboat. 

Team POV on the Lifeboat as they consider that horrific thought.

Off Lifeboat... 

END SCENE 

INT – FIONA’S DINER – LOMPOC, CA – DAY 

POV on Denise who is sitting at the counter of the mostly empty diner. Behind her, just visible, is Lucy (ballcap on) and Jeremy Cahill. They sit opposite each other in a booth, not tense but not relaxed either. The window behind them has art drawn on it which makes it hard to see through, allowing concealment.

DENISE  
(talking into phone)  
That’s good work. 

Cut to...

INT – TIME TEAM HQ - GYM – DAY 

The team is gathered around a cell phone that is on speaker.

DENISE  
(on phone)  
We’re a bit delayed here. But even if we left now,  
the trip back is over four hours. 

WYATT  
Agent Christopher, I’d like to get on this as soon as possible.  
This may be the first time we’ve truly been ahead of Rittenhouse.  
If we can get to the sleeper before they’re activated,  
before the Mothership even jumps back... 

DENISE  
It’s enticing, but you don’t have a historian. And we know  
what happened last time you went out without Lucy. 

Wyatt, Rufus, and Flynn all glance at each other as if to say “hey, kidnapping JFK was your idea.”

JIYA  
I think I have it covered. I know a lot about Mary Shelley.  
I’ve read books and watched documentaries over her. The girl  
reached peek Goth before that was even a thing. Super fan. 

DENISE  
You sure about this, Jiya? 

JIYA  
Totally. A ton has been written on those days at  
Lord Byron’s villa on Lake Geneva, and I’ve read all of it. 

DENISE  
(beat)  
Alright. Mission is a-go. 

WYATT  
Thank you, Agent Christopher. 

DENISE  
Try not to kidnap anyone this time, and Jiya’s in charge. 

JIYA  
(smiling)  
Yeah. I’m in charge. 

Cut To... INT – DINER

Agent Christopher hangs up her phone and looks down the diner. A Homeland Agent is watching the door and nods at her. Area is still secure. Then she looks at the half-siblings sitting at the table. 

On Lucy and Jeremy Cahill... Lucy is very stone faced while Jeremy seems nervous and unsure, perhaps even a little afraid.

JEREMY  
The guards said someone else was there to see my dad.  
When I realized it was you...  
(beat)  
Thank you, for meeting with me. 

LUCY  
What do you know about me? 

JEREMY  
Just that you’re my... sister. Half-sister. Dad only told me  
a few months ago. That the woman who visited us that day,  
that you, were my sister, and you put him in prison. 

LUCY  
I’m not sorry. He deserved it. 

JEREMY  
I know. I saw the reports, at least what wasn’t redacted.  
(beat – nervous)  
He told me all about Rittenhouse. About the Cahill’s role in it.  
I’m... I’m still not sure what to make of it. 

LUCY  
(curious – a little hopeful)  
What did he tell you, about Rittenhouse? 

JEREMY  
That the Cahill’s are part of the Nine Families that make up  
a Council that runs Rittenhouse. That we have one of the  
three High Seats, which, I guess is like, upper management. 

LUCY  
Did he tell you who the other families are? Where they meet? 

JEREMY  
No, he said that would come in due time.  
But first I needed to know what Rittenhouse was.  
How it’s always been a part of my life, just never had a name for it. 

Lucy doesn’t like what she is hearing because it’s the same thing she fears, that Rittenhouse has been guiding her this whole time. The word ‘destiny’ rings in the back of her head, nagging at her.

JEREMY  
He... he said it was all going to be revealed when I turned  
eighteen, but he was in prison before that happened.  
It took a while before they’d let me in to see him. 

LUCY  
(slightly disappointed, moving on)  
Okay. So, why did you want to see me? 

JEREMY  
(timid, unsure)  
You’re my sister. 

Beat as that hits Lucy harder than she expected it.

JEREMY  
Right now, you and Grandpa are the only family I have left. 

Another beat as Lucy tries to keep herself from reeling. She takes a takes a deep breath.

LUCY  
We know very little about each other, Jeremy.  
(beat – comes to a decision)  
So why don’t we start at the beginning. 

Off Lucy and Jeremy sitting at the table. This is not going to be an easy conversation…

END SCENE 

EXT – VILLA DIODATI – LAKE GENEVA, SWITZERLAND – FRONT DOOR – EVENING 

It’s pouring down rain, lightning. It’s the perfect ‘dark and stormy night.’ A single lantern hangs by the front door, protected by the slight overhang. 

Jiya, Rufus, Wyatt, and Flynn rush into the overhang to get out of the rain. They are now dressed in stolen early 19th century European clothing. Jiya has a hooded cloak over her Regency dress complete with white opera gloves. Rufus and Wyatt are dressed more casual, like working men, with worn leather coats to keep the rain off. Flynn somehow managed to find a double-breasted vest with burgundy cravat, a fine silk shirt, and a gentleman’s coat, because haberdashery is his superpower.

WYATT  
(to Jiya)  
This is it? 

JIYA  
Villa Diodati. Lord Byron is renting the place. 

Wyatt grabs the door knocker and makes sure the knock can be heard over the rain. A moment later, the door opens and a middle-aged butler, Liam, greets them.

JIYA  
Hello. We’re travelers who heard Lord Byron was staying here.  
We wished to offer him our appreciation for his works. 

LIAM  
(British accent)  
Lord Byron has house guests. You may return  
in a few days when the rain has cleared. 

JIYA  
Ahh… 

BYRON  
(off screen)  
Oh, don’t be so dour, Liam. 

Lord Byron, who has a slight limp, appears next to the Liam, all smiles, checking out the newcomers.

BYRON  
I hear someone wishes to appreciate me. 

JIYA  
(fangirling just a little)  
Lord Byron. Yes, ah, we are ardent fans of your works. 

BYRON  
(looking at Wyatt but addressing Jiya)  
Fans? You speak strangely.  
I don’t believe I’ve heard your accent either. 

JIYA  
We’re from the colonies. 

Byron is looking Wyatt up and down in a way that makes Wyatt a little uncomfortable.

BYRON  
Ah, yes, America. I am an… ardent fan of your  
George Washington and Benjamin Franklin.  
(turns back to Jiya)  
Unfortunately, I’ve not yet had the pleasure of  
visiting your homeland, Mrs… ? 

JIYA  
Miss, actually, you can just call me Jiya. 

BYRON  
(gesturing to Wyatt)  
This one is not your husband then? 

JIYA  
(makes a face)  
Ew, no.  
(grabs Rufus’ arm)  
This is my boyfriend, Rufus. 

RUFUS  
(awkwardly casual)  
Hey. 

JIYA  
(gestures to Wyatt)  
This is Wyatt, uh, my brother. My half-brother.  
(gestures to Flynn)  
And this is our Uncle Flynn. 

Both Wyatt and Flynn look at Jiya as if to say what the hell? That’s what we’re going with here?

BYRON  
You Americans are so delightful.  
Come, you must join the party. 

Byron moves forward and takes Wyatt by the arm in a friendly-bordering-on-intimate fashion.

BYRON  
Let’s get you in front of the fire now, hmm, shall we? 

Byron pulls Wyatt along. Wyatt glances back at Jiya and Rufus as if to say “please help me.” Jiya and Rufus follow, far to amused at the situation. Flynn is the last to enter.

FLYNN  
(grumbling)  
Uncle? I’m not _that_ old. 

Cut to…

INT – VILLA – PARLOR – NIGHT 

Percy, John, and Claire are sitting around while Mary is at the window. The men stand as the newcomers enter. The team has taken off their coats and cloak. Byron has let go of Wyatt but is still fairly close.

BYRON  
Bring more wine, we have guests. 

The servant, Mia, exits as Jiya spots Mary. Jiya starts to freak out, slapping her hand against Rufus.

JIYA  
(under her breath to Rufus)  
That’s her, that’s Mary Shelley. 

RUFUS  
(hushed)  
You’re as bad as Lucy. 

BYRON  
(to the others)  
Friends, may I introduce these lovely Americans who have  
stumbled upon my doorstep. This creature of beauty is Jiya,  
and her paramour, Rufus. The hunched one is called Flynn. 

Flynn takes a little offense to that, squaring his shoulders and standing tall… very tall.

BYRON  
(putting hand on Wyatt’s shoulder)  
And this gentleman here is Wyatt. 

Medium view on John, Percy, and Mary who all gives knowing looks. Claire is a bit put out, but not jealous.

BYRON  
Now, my new friends, this my personal physician, John.  
The lovely lady is Claire, and this is Percy Shelley,  
you may have read his works as well. 

WYATT  
Not had the pleasure. 

Percy is a little annoyed while John and Byron are highly amused.

BYRON  
And this enigmatic young woman is Mary. 

JIYA  
(still fangirling)  
Pleasure to meet you. 

Byron grips Wyatt’s arm gently and leads him towards the fireplace. Wyatt is a bit uneasy but he’s trying to be polite as he assesses the situation.

BYRON  
You must tell me all about America.  
From which colony do you hail? 

WYATT  
Ah, well. The area isn’t a state yet. 

BYRON  
Yes. I hear a few years back another state was created from  
the land bought from the French. Oh, what was its name? 

The conversation trails off…

POV on Jiya, Rufus, and Flynn who stand awkwardly in the back as all attention is on Byron and Wyatt. Jiya, Rufus, and Flynn converse quietly.

FLYNN  
That’s Mary Shelley? She’s a child. 

JIYA  
She’s eighteen actually.  
(gestures to John)  
That’s John William Polidori. He comes out of this weekend  
writing _The Vampyre_ , the first modern vampire novel.  
So we can thank him for _Dracula_. 

RUFUS  
And Blade. 

JIYA  
(horrified look)  
And _Twilight_. 

RUFUS  
(blank expression)  
Kinda want to punch him. 

JIYA  
Little bit. 

SFX – Woman’s scream, breaking glass, clattering.

Wyatt and Flynn instantly react, pulling their guns.

WYATT  
(at Flynn while moving)  
Watch her. 

Flynn acknowledges the command, knowing that he’s talking about Mary. Wyatt, Jiya, and John run towards the sound of the scream.

MARY  
(worried)  
William! 

Mary runs from the room in a different direction.

FLYNN  
(chasing after)  
Hey! 

This leaves Rufus alone in the room with Byron, Percy, and Claire. Rufus not sure what to do.

Cut to… 

INT – VILLA – KITCHEN – EVENING 

The kitchen is typical of the construction, a fire stove and sink against one wall. A large table is in the middle of the room. Glasses sit upon it, most knocked over, broken. An old brown bottle is tipped on its side, liquid dripping out. 

Wyatt enters, gun drawn, clearing the room. 

POV on the body of Mia, gash on her head as she lays on the floor. The broken pieces of a bottle of wine lay scattered next to her along with a heavy skillet. 

On Wyatt who sees this but keeps moving, making sure the killer isn’t hiding or lying in wait. 

On Jiya and John who follow in. John leans down next to Mia to check on her.

JOHN  
She’s passed. 

Off Wyatt who has finished his sweep. The killer has escaped.

Cut to… 

INT – VILLA – BEDROOM – EVENING 

Camera is on the open door of the bedroom, facing out into the hallway. Mary comes rushing in. A split second later, Flynn appears. He stops, an odd look on his face. 

SFX – A baby’s soft cries. 

Camera changes into the room proper. It’s a small bedroom, but there is enough space for a bassinet. Mary is picking up a baby, William, from the bassinet. The nursemaid, Elsie, stands off to the side, flustered.

Elsie  
(Swiss-German accent)  
Sorry, ma’am. He wouldn’t stop crying. 

MARY  
(soothing)  
It’s okay. Mother’s here now. 

Off Flynn whose expression has gone a little soft, but there are painful memories just below the surface.

Cut to… INT – KITCHEN 

Camera on the bottle laying on the table. Jiya uses her pinky to roll it over to reveal the label. The markings make it quite clear this is some kind of poison or pesticide. 

Medium POV of Jiya looking at the bottle, John next to her as Wyatt walks up.

JIYA  
Someone was trying to poison the wine.  
I think our sleeper got walked in on. 

JOHN  
Sleeper? 

JIYA  
I don’t understand, they weren’t activated. 

WYATT  
They probably saw us and decided to go off book.  
(beat)  
They were going to poison everyone, just to take us out. 

Off Jiya and Wyatt who now have a murderer on the loose. They don’t know who the sleeper is, but the sleeper knows the Time Team…

END SCENE 

END ACT I

**Notes for the Chapter:**

> Interesting factoids:  
> Byron was a fan of George Washington and Ben Franklin and he did walk with a slight limp.  
> John wrote The Vampyre which we can thank for all modern vampire novels. (it was wrongly attributed to Byron for a while)  
> Mary was eighteen, not yet married to Percy, and was nursing their child, William, during this trip where she started writing Frankenstein.  
> Elsie was the nursemaid that they hired while they traveled.


	3. ACT II

TIMELESS 

Episode #303 “Frankenstein’s Monster”

**ACT II**

INT – VILLA – PARLOR – EVENING 

It’s still dark and stormy outside, rain pouring in buckets. Wyatt stands at the window, watching the weather for a moment.

WYATT  
There were no wet footprints in the kitchen.  
(turns to the group)  
The attacker didn’t come from the outside. 

POV on the room. Mary and Claire sit on the sofa, baby William in his mother’s arms. Percy is sitting in a chair whilst Byron and John stand. Several servants are lined against the far wall. Flynn stands between them and Mary, while Jiya and Rufus are watching everything from the side.

WYATT  
Are these all the other individuals in the house? 

BYRON  
Yes, but… as tragic as it is, the young woman’s death, I think  
it’s prudent of me to ask you who you are. You show up, well-armed,  
with a laughable story which I assumed was a coverup for some…  
indiscretions. Then someone is ghastly bludgeoned to death and  
you won’t let me send for a constable. 

Wyatt starts to speak but obviously falters to come up with a good cover story.

FLYNN  
We are agents of the American government.  
We’re hunting a war criminal. 

JOHN  
War? You mean that business with the Canadas? 

Flynn says nothing and allows them to believe whatever makes most sense to them.

MARY  
What does this have to do with me?  
(beat as everyone looks at her – regarding Flynn)  
You told this one to watch me, and he followed me, to protect me. 

Now Flynn stalls along with Wyatt.

JIYA  
We believe this person has been hired to keep an eye on you.  
Perhaps to kidnap you or… eliminate you. 

PERCY  
Mary? Why? 

JIYA  
(to Mary, ignoring Percy)  
Your father is a leading political proponent of utilitarianism, and  
your mother’s works, promoting women’s fundamental rights  
as equal to men’s, has caught the eye of some dangerous people. 

Mary looks worried, but not afraid. She soothes William.

Wyatt moves forward, in front of the servants.

WYATT  
One of you is not who you say you are. You’re from somewhere  
very, _very_ , far away from here. Give yourself up now,  
return with us, and we promise you will be treated fairly. 

Camera pans the group of servants. No one seems to stand out as there is a range of emotions from confusion, to general worry, to disinterest.

On Wyatt as he gets a little frustrated with the fact the sleeper won’t take the easy way out.

WYATT  
Alright. That’s how it’s gonna be. 

Medium POV, Wyatt walks to Jiya and Rufus, speaking in a lowered voice.

WYATT  
(to Jiya)  
How we want to do this? 

JIYA  
We’re going to have to talk to each one, individually. See if  
they will give themselves up accidently. Maybe they’ll use a  
modern phrase, or have a piece of modern tech on them. 

WYATT  
Okay, but that’s going to make us vulnerable if we split up,  
so we do this smart. 

Wider POV on the group as Percy speaks.

PERCY  
I’m sorry, but wouldn’t the killer have blood on them? 

FLYNN  
Not from a single blow to the head.  
(beat, everyone looks to Flynn)  
The blood won’t have a chance to gather,  
so there’s no cast off. First one’s always free. 

RUFUS  
You are totally the creepy uncle. 

JIYA  
He’s right though. 

Rufus looks to Jiya, unsure what to do with the fact Jiya agreed with Flynn about the results of blunt force trauma.

Byron walks up next to Wyatt and lays his hand lightly on his shoulder.

BYRON  
I feel I can trust you, so we put ourselves in your capable hands. 

WYATT  
(awkward)  
Thanks.  
(looks to Flynn)  
If I was wrong about an outside attacker, or if they have backup,  
Mary is too vulnerable down here with all these windows and entry  
points. Get her upstairs, barricade the door, you know the drill. 

Flynn nods and steps towards Mary, gesturing lightly for her to stand. Worry is still etched in her face, but she isn’t afraid.

PERCY  
What about our protection? 

JIYA  
No one cares about you, Percy. 

John snickers and Byron is delighted. Flynn escorts Mary and baby William out of the room.

POV on Wyatt as he glances back across the servants. Byron still has his hand lightly on his shoulder and Wyatt is just ignoring it.

WYATT  
Now we need to interrogate them. 

RUFUS  
Shouldn’t we have let the ex-NSA operative do the interrogating? 

WYATT  
I know what I’m doing. Mary is priority, and  
Flynn will be far more effective protecting her.  
(beat – moves away from Byron)  
Alright, first, we search them. Rufus take the men,  
Jiya, the women. Look for anything out of place.  
(holds his gun up)  
I’ll keep you covered. 

Rufus and Jiya nod, then approach the group of servants.

Jiya starts to pat down the first woman, the chambermaid, Sarah, pulling up her sleeves. 

Rufus approaches the first man, Liam, who recoils as Rufus reaches for him. For a second, there is a thought that perhaps this is the sleeper, not wanting to get caught out. But then it becomes obvious to Rufus was is happening.

RUFUS  
Dude, the black don’t rub off. 

Rufus grabs his arm, pulling up the sleeve, checking for any modern tech.

Off the group as Rufus and Jiya continue to search for clues as to who the killer could be… 

END SCENE 

INT – VILLA – BEDROOM – NIGHT 

This is the bedroom with William’s bassinet. The room is lit by a fire and candelabra. 

Flynn pushes a chest of drawers against the door to barricade it. Mary stands by the bed, pacing, trying to soothe William who is getting very fussy. Satisfied with the door, Flynn moves to the window and draws the curtain.

FLYNN  
This is only temporary.  
They'll find the agent soon enough. 

MARY  
As ridiculous as this situation is, that someone would wish  
to do me harm, I do appreciate the impeccable timing  
of you and your friends. 

FLYNN  
They aren’t exactly my friends.  
(slight laugh)  
But they do have impeccable timing, I’ll give them that. 

William makes louder fussing noises and Mary tries to soothe him again. But she is just as agitated, pacing quickly in front of the bed. Flynn watches, a softness in his eyes. Then he gets a little frustrated himself. He steps forward and gently reaches out, an offer to take William from her.

FLYNN  
Here, let me. 

Mary stops pacing and looks up at Flynn, wary. But then she sees something in him and decides to let him take William.

FLYNN  
You’re agitated, and he knows it. 

Flynn expertly holds William against his shoulder, rocking slightly.

FLYNN  
Have a seat, take calming breaths and try to relax.  
Take care of yourself first, I got him. 

Mary hesitates, but Flynn speaks with such confidence and care that she does as he says. She sits down in a chair and takes a few slow, deep breaths. Pushing away the fact that someone is trying to kill her.

Flynn continues to sway slightly, rubbing William’s back. He slips into softly singing a Croatian lullaby. 

Close POV on Flynn as he gently lull’s baby William to sleep. He closes his eyes and it’s easy to imagine he’s done this hundreds of times with his own child. 

On Mary as she watches with interest, also seemingly lulled into calmness by Flynn. 

Medium POV as Flynn stops singing. William is asleep and Flynn goes to place him in the bassinet. 

On Flynn who straightens himself up once he remembers that he’s supposed to be protecting Mary from a Rittenhouse sleeper agent. He may have gotten a little too wrapped up in memories there.

MARY  
(softly)  
How old were they? 

FLYNN  
I’m sorry? 

MARY  
Your child. How old were they, when they died? 

Flynn is struck quiet for a moment.

MARY  
(softly – touch of sadness)  
My firstborn only lived a few days.  
I see the same depressions etched in your eyes as I do my own. 

Flynn is still struck, there is a lot of pain in this small room. He sees something mirrored in Mary’s eyes and there is comfort in shared experiences, shared pain.

FLYNN  
Not long turned five. 

MARY  
I’m sorry.  
(beat)  
Was it a fever? 

FLYNN  
(beat)  
Murdered. Her and my wife, by the  
same people who now wish you dead. 

MARY  
That… is truly awful. 

Flynn is hurting, but he has a job to do, and the benefit of that job is taking out another agent of the people who murdered his family.

FLYNN  
We’ll stop them. You’ll be safe. 

Mary nods, she believes him.

Off Flynn who isn’t sure if he was talking to Mary, or to himself… 

END SCENE 

INT – VILLA – PARLOR – EVENING 

Rain continues outside as the only four people the team can trust not to be sleepers (Byron, John, Claire, and Percy) sit on one side of the room, while the various servants stand to the other side. 

Rufus and Jiya finish up their search of the suspects.

RUFUS  
I didn’t find anything. 

JIYA  
Me neither. 

Wyatt is a little annoyed and still frustrated that they are going to have to do this the long way.

WYATT  
Lord Byron, what’s across the hall? 

BYRON  
The study.  
(slightly suggestive)  
I could show it to you if you like. 

WYATT  
I’ll do the interrogations there.  
(to Jiya and Rufus)  
You good to watch them? 

Jiya grabs a poker from the fireplace.

JIYA  
Yeah, we’re good.  
I learned a few things in Chinatown. 

Wyatt nods then walks up to the servants. He stands at the front of the line.

WYATT  
Liam, isn’t it? You’re up first. 

Wyatt gestures with his gun for him to move. Liam complies, heading for the door. Wyatt follows him out of the room towards the study to be interrogated.

On Rufus and Jiya who are standing guard. Jiya is holding the fireplace poker across her in both hands, watching the suspects. Rufus moves next to her.

RUFUS  
(quietly)  
Is it wrong I’m a little turned on right now? 

Off Jiya who stifles a laugh, looking at him as if he’s adorable...

Cut to... 

INT – VILLA – STUDY – EVENING 

The study is smaller than the parlor, a large desk across the back of the room, the walls lined with books. There are a few chairs in front of the desk. 

Wyatt closes the door behind him as Liam walks to the middle of the room.

WYATT  
Grab a chair. 

Holding his gun on the man, Wyatt waits for Liam to pull a chair forward and sit down, facing him.

WYATT  
Alright, let’s start simple. What’s your full name? 

LIAM  
Liam James Jamison. 

WYATT  
And where are you from? 

LIAM  
Plumtree, Nottinghamshire. 

WYATT  
Nottingham? That near Sherwood Forest? 

LIAM  
Sherwood is good day’s ride north, sir. 

WYATT  
(beat)  
(imitating Alan Rickman)  
It’s dull you idiot, it’ll hurt more! 

Liam looks at Wyatt like he grew a second head, not getting the reference. Wyatt shrugs it off, it was a worth a shot. He still has plenty of other tricks up his sleeve.

WYATT  
When did you start working for Lord Byron? 

Off Wyatt...

END SCENE 

INT – FIONA’s DINER – LOMPOC, CA – DAY 

Denise is checking the perimeter of the diner. Everything seems to be okay, but she’s ever watchful. 

Lucy and Jeremy Cahill are still sitting at the booth. It’s obvious they’ve had a long chat. They are by no means comfortable with each other, but the initial unease and worry has faded off.

JEREMY  
It’s just, he’s my dad.  
It’s been me and him since my mom died. 

LUCY  
I know the feeling.  
(beat – a little emotional)  
You trusted him, you love him, and he’s done nothing  
but keep this big secret hanging over your head.  
Makes you feel like your life is a lie. 

JEREMY  
Yeah... 

Beat as they both let that weight settle.

JEREMY  
I know dad’s been a part of some questionable things.  
Done some illegal things. But...  
(beat)  
I don’t know. He says he’s just trying to help people.  
That Rittenhouse wants to help make the world a better place.  
Could it all be bad? 

LUCY  
(firmly)  
Yes. 

Jeremy is startled at her sudden and firm response.

LUCY  
The man who created Rittenhouse... my ancestor... he was  
a horrible man who believed that _helping_ people meant  
taking away their free will, their choices. That anyone who isn’t  
white is inferior and women are nothing but breeding stock. 

JEREMY  
(shaken)  
I didn’t know that.  
(beat)  
But there is a woman, in a High Seat. 

LUCY  
(surprised)  
There is? How do you know?

JEREMY  
A few years back, I dunno, sometime in October, I think? Anyway,  
three people came to the house, a man and two women, it was late.  
I didn’t hear much of the conversation, it didn’t make sense honestly.  
Kept talking about a ship being stolen. 

On Lucy as she realizes that he might be talking about the Mothership. She grabs her phone.

LUCY  
One second. 

Lucy pulls up the picture of her and Carol that is missing Amy. She stumbles for a moment before showing it to Jeremy.

LUCY  
Was this one of the women? 

JEREMY  
Yeah. Is that your mom? 

LUCY  
Yes, this is my mother.  
(beat)  
So what makes you think the other two were High Seats? 

JEREMY  
It was just how they talked, like they were the final say,  
the shot callers. When dad explained how the Cahill’s had  
a High Seat, it just... I thought of that night. 

Lucy thinks about this for a moment. Jeremy might actually know more than he realizes.

LUCY  
These people, you’d recognize them if you saw them again? 

JEREMY  
Sure, yeah. 

LUCY  
Could you describe them to a sketch artist? 

Lucy gets Denise’s attention. Denise is talking with another agent and gives her a ‘one second’ gesture.

JEREMY  
I... I think so, but… this is all starting to get a little too much. 

LUCY  
(soft)  
The truth is scary, isn’t it? 

JEREMY  
Yeah… 

LUCY  
You know, I once met a man who told me fear isn’t real.  
Feat isn’t what’s happening, it’s just a reaction to what’s happening. 

JEREMY  
Maybe… Maybe Rittenhouse has changed?  
Maybe it can still be used for good? 

LUCY  
(firmly)  
No. It may be more inclusive, but I promise you, it's still rotten  
to the core. Your father, he personally threatened the family of  
one of my best friends just to get him to cooperate with them. 

JEREMY  
(shocked)  
He did that? The reports just talked about a lot of, um, white collar crimes. 

On Denise as she starts to head over.

On Lucy and Jeremy.

LUCY  
I’m sure they didn’t give you the whole thing, for security purposes.  
But yeah, Rittenhouse... they murdered the wife and five-year-old  
daughter of one of my friends because he named Rittenhouse in a report. 

JEREMY  
(now shocked and horrified)  
What? 

LUCY  
And my friend, Wyatt, his wife was indoctrinated into Rittenhouse,  
just so they could use her against him. 

Denise arrives at the booth, glancing between them.

LUCY  
Rittenhouse can do a lot of things, but I promise you, none of it is good.  
(beat – turns to Denise)  
Jeremy might have seen some high-level Rittenhouse members. 

DENISE  
(at Jeremy)  
Is this right? 

JEREMY  
Pretty sure. 

LUCY  
Could we have him sit down with a sketch artist, or something? 

DENISE  
(to Jeremy)  
First, I’d have you look through photos of everyone we arrested.  
See if anyone looks familiar to you. If you’re up for it. 

On Homeland Agent watching the door.

Agent POV as he notices a black SUV pull up outside the diner and park oddly.

HOMELAND AGENT  
(on wrist mic)  
Agent Christopher, we have a situation. 

On Denise…

DENISE  
(on wrist mic)  
What kind of situation. 

Cut to…

EXT – DINER PARKING LOT – DAY 

Four men in light tactical gear jump out of the SUV, semi-automatic weapons in hand. 

Cut to… INT – DINER 

Denise sees this hazily through the art on the windows, she springs into action.

DENISE  
Get down! 

Denise crouches, pulling her gun as bullets start to riddle the dinner, glass bursting and raining down over them.

Denise moves towards Lucy who laid down on the seat. Jeremy has done the same.

DENISE  
You hit? 

LUCY  
No. 

Bullets ring overhead as Denise guides Lucy out of the booth, making sure her head doesn’t pop up.

On Homeland Agent who has taken cover, he returns fire. 

Cut to... EXT – PARKING LOT 

One of the four men is grazed, but doesn’t go down. This makes them all take a bit more cover as they keep attacking. 

Cut to… INT – DINER 

Denise has both Lucy and Jeremy out of the booth now, ducked low.

DENISE  
We need better cover.

Denise takes point and starts to move down the walkway between the booths and the lunch counter. 

On Jeremy who is showing a lot of fear, starting to seize up. 

Lucy offers her hand…

LUCY  
Fear isn’t real. 

It takes a second for this to sink in, but then Jeremy takes a deep breath. Grabbing Lucy’s hand, she leads him towards where Denise is waiting. They round the lunch counter where they are protected from bullets, though exploding glass and other items might become a problem.

DENISE  
(into wrist mic)  
Is the rear exit secured? 

HOMELAND AGENT #2  
(over mic)  
Taking fire, we’re jammed up back here. 

DENISE  
Hold position, defend, do not advance. 

Denise grabs her radio off her belt.

DENISE  
(into radio)  
This is Agent Christopher, requesting backup.  
We’re taking fire at Fiona’s Diner off Cabrillo Highway. 

DISPATCH  
(over radio)  
Acknowledged, we have state troopers and local uni’s inbound. 

Cut to… EXT – PARKING LOT

The men keep firing, but this time they pin down the Homeland Agent and they move forward, they are going try to storm the diner. 

Cut to… INT – DINER 

The metal backdrop sitting above the back counter is dinged up, got a few holes in it, but Denise can see the attackers are making their approach.

DENISE  
Knew I should have brought more men, that Rittenhouse  
would take a run at you. I’m sorry, Lucy, but I’ll get you out of this. 

JEREMY  
Actually… I think it’s me they’re after. 

Lucy and Denise exchange glances. That can’t be right.

Off Jeremy who is afraid, and he knows exactly why he should be... 

END SCENE 

END ACT II

**Notes for the Chapter:**

> As I stated before, all staff (except Elsie) are made up for narrative purposes.
> 
> What Jiya says of Mary's parents is true. Mary also had a child with Percy before William who only lived a few days.
> 
> "the Canadas" is not a typo, at this time, that is how Canada was referred to because it wasn't yet the Canada we know today.
> 
> And yes, Flynn, the first one is always free.


	4. ACT III

TIMELESS

Episode #303 “Frankenstein’s Monster”

**ACT III**

INT – DINER – DAY

Denise, Lucy, and Jeremy are still hiding behind the counter. Denise and Lucy looking questionably at Jeremy.

LUCY  
What do you mean, they’re after you? 

Jeremy falters, he’s shaking.

DENISE  
You can explain after I’m finished saving our asses. 

Denise POV as she looks up at the metal backsplash to see the attackers. They are going to jump through the broken windows rather than go to the door which Homeland Agent #1 has covered.

On Denise who is crouched, gun in hand, ready to jump up. She watches the men through the backsplash in order to time things right.

On attackers… one of them jumps through the window, landing on the top of the booth table. 

On Denise who pops up, fires off two rounds at a rapid pace. 

On attacker… takes the two to the chest and goes down. 

The other men duck down, taking cover while spraying the area with bullets.

On Denise, Lucy, and Jeremy as more glass rains down on them.

DENISE  
(quietly)  
Stay here. 

Denise moves down the counter, the opposite side of the diner from where Homeland Agent #1 is pinned down.

Using more appliances to get a warped look at the scene, Denise is able to get an angle on one of the remaining three attackers. 

Denise pops up, fires off two rounds again, one of them hitting the attacker who slumps and falls. 

On Homeland Agent #1 who takes the advantage… moving from where he is pinned down. The agent gets a line on the second to last attacker. He fires a shot and hits his mark.

Denise comes around the corner of the lunch counter, leading with her gun. There is one attacker left and she can’t see him. 

Slowly she walks down the aisle, glass crunching lightly under her feet.

The fourth attacker pops up, trying to get a jump on Denise. She is quicker, firing off two rounds which takes the man out. 

Denise stands among the wreckage of the diner, seeing the fallen attackers and their weapons, realizing she and her fellow agent were outnumbered, and thinking it’s a miracle they got out of this without a single scratch. 

Off Denise as she stands there, lights from police cars starting to bounce around, sirens going off…

END SCENE

INT – VILLA – BEDROOM – EVENING

Baby William is asleep as Mary sits in a chair and Flynn leans against the fireplace. It’s quiet as they wait. 

Mary lets out a sign and stands up. She moves over to the small writing desk in the corner. She pulls out a journal, along with a quill and ink. Flynn watches her as she starts to write in the journal, her cursive script pointy and slanted. After a moment, his curiosity gets the better of him.

FLYNN  
What are you writing?

MARY  
Recording my thoughts of today, as strange as they are.

FLYNN  
Oh. 

Mary pauses and side-glances at Flynn.

MARY  
Speak your mind, sir.

FLYNN  
I just thought you might be writing a story.

MARY  
(chuckles lightly)  
My beloved Percy is the writer.  
I’m afraid I may not be much for it. 

Flynn realizes Mary hasn’t started writing _Frankenstein_ yet. Even if they keep the sleeper from killing her, Rittenhouse could still win by upsetting the timeline just enough that she never writes it.

FLYNN  
I don’t know, you seem like you’d be well up to the task.

MARY  
(quiet laugh)  
Lord Byron suggested we all write a ghost story as  
befitted this dreary weather. I have yet to formulate  
a single idea worth considering.

FLYNN  
I’m sure something will come to you. 

Mary thinks for a moment, tapping the tip of the quill against her lips.

MARY  
We were discussing something earlier…  
tell me, what is your opinion on monsters?

FLYNN  
(slightly taken aback)  
I suppose it depends on the monster.

MARY  
Yes, I suppose it does. 

FLYNN  
(beat)  
You could write about a monster?

MARY  
That would be fitting, for monsters do not  
exist in nature, we create them, you know?

FLYNN  
(quiet)  
Yes, I know. 

Mary hears something in Flynn’s voice that makes her turn and look at him. She judges him curiously for a moment. Flynn is unable to hide the pain and guilt in his eyes.

MARY  
Tell me, good sir, what monster are you responsible for? 

Flynn doesn’t want to answer, but something in Mary makes him do so anyway.

FLYNN  
I… I have done some horrible things.  
Unforgivable things. 

MARY  
All for the sake of vengeance against your family’s death?

FLYNN  
(emotional and dark)  
I will stop the people responsible, whatever the cost. 

Mary watches him for a couple heartbeats, then makes a little ‘herm’ sound.

FLYNN  
(off-kilter)  
What?

MARY  
It seems to me that these people… _they_ created the monster.  
A product of their own hubris, a weapon for their own downfall. But…  
(beat – thinking)  
Is their monster still a monster, when not seen through their eyes? 

Beat as Flynn doesn’t answer, his face unsure and questioning.

MARY  
Seems to me that such a monster, seen through the  
eyes of another victim, might very well be an angel.

FLYNN  
But that makes it no less of a monster.

MARY  
Perhaps.  
(beat – thinking)  
Should we not take pity, and offer forgiveness, to  
a monster that did not choose to become one?

FLYNN  
Even after everything it’s done?

MARY  
Who sharpens a blade and does not expect it to cut? 

Off Flynn who doesn’t know what to think of Mary’s words…

END SCENE

INT – VILLA – PARLOR – EVENING

It’s clear some time has passed. The servants are a bit more relaxed, a few sitting down in chairs or milling about on their side of the room. Lord Byron, John, Claire, and Percy are on the other side, chatting, drinking wine. 

Jiya stands near the door to across where Wyatt is, poker still in her hand. She watches both groups, looking for signs of trouble. Rufus slides up casually beside her, that mixture of being on edge but bored at the same time. 

Jiya POV on Claire who is taking a sip of wine as she laughs at something Lord Byron says.

On Jiya who is watch Claire and thinking. She is perhaps not happy.

RUFUS  
(quietly conversing)  
You checked that wine bottle yourself, it wasn’t poisoned.

JIYA  
I know. I’m just trying to remember if she’s pregnant yet.

RUFUS  
Claire’s pregnant?

JIYA  
Pretty sure she’s a couple of months in. Lord Byron’s the father.

RUFUS  
She is crushing on him pretty hard.

JIYA  
Yeah, in fact, Claire and Mary are step-sisters and Claire’s the one  
who pushed to go on this trip, so she could run into Byron again. 

RUFUS  
So, not only was the science fiction novel invented by an  
eighteen-year-old girl, but it was only because another  
eighteen-year-old girl wanted to follow around the  
Nineteenth Century equivalent of a boy band?

JIYA  
Pretty much. 

Rufus chuckles and there is another scan of the room. Then he gets a little somber.

RUFUS  
You remember the race car driver, the one Wyatt was  
a fan of who turned out to be a sleeper agent? 

JIYA  
Ryan Millerson, yeah, what about him?

RUFUS  
Can you be sure that everyone on that side of the room isn’t the sleeper? 

Medium POV on the four individuals chatting.

On Jiya who is thinking, questioning herself, then shakes her head.

JIYA  
No. I mean, the lives of these individuals are far to scrutinized for  
one of them to be a sleeper. And there is so much melodrama... 

RUFUS  
What do you mean?

JIYA  
Well, let’s start with the fact that John, he’s crushing hard on Mary  
right now. Never sees her again after this, and then in a few years  
he has a major falling out with Byron. 

RUFUS  
Okay. That’s not too bad.

JIYA  
Now, Claire is pregnant with Byron’s kid, but at first, Byron argues  
that it’s Percy’s because, well, there was a chance it could have been. 

RUFUS  
But Percy’s with Mary.

JIYA  
They have an open relationship which Percy takes total advantage of.  
Right now he has a wife and kid back in England. That’s a total wreck of  
a marriage, she ends up drowning herself in a lake, whilst still pregnant.

RUFUS  
Wait, what?

JIYA  
Also, Percy tries to get Mary to sleep with one of his friends, and while she  
accepts the open relationship, she remains monogamously loyal to him.  
Oh, and when their first child died from a premature birth, he immediately  
leaves her alone to her depression and hooks up with Claire.

RUFUS  
Man, that’s cold.

JIYA  
(pointing at Elsie)  
And the nursemaid, Elsie, there is speculation she  
might have also had affairs with Byron and, or Percy. 

RUFUS  
Wow, and I thought Lucy, Wyatt, and Jessica was a mess.

JIYA  
I mean, the open relationship Percy has with Mary could totally have  
worked and been healthy, but, for a writer, Percy sucks at communicating  
with people. He’s also completely emotionally unreliable. The court  
won’t even let him take custody of his own kids. So, yeah,  
Wyatt’s a disaster, but he has nothing on Percy Shelley. 

Speaking of, Medium POV as the chambermaid enters the room, followed by Wyatt.

The woman goes back to the group while Wyatt waits next to Rufus and Jiya.

RUFUS  
That was the last one.

JIYA  
You figure out who the sleeper is?

WYATT  
(off camera as each suspect is shown)  
Well, I discovered that the cook’s been skimming off the  
grocery funds. The nursemaid and the gardener are having  
an affair. And the chambermaid is a kleptomaniac. 

RUFUS  
No one looking good for a sleeper?

WYATT  
Either the sleeper is very adaptive, or maybe I was  
wrong and it was someone from the outside.

JIYA  
It has to be one of them, why else would someone try to poison  
us so quickly after our arrival? They had to have seen us come in.

WYATT  
I’ll let them stew for a moment,  
then go at this from a different direction.

JIYA  
We are not waterboarding anyone.

WYATT  
That doesn’t even work.

RUFUS  
Hey, wait. I have an idea, and I don’t know why I didn’t think of it before.  
(beat as Jiya and Wyatt give them his attention)  
Stanley told you about looking into the past. That you could go anywhere.  
So just look back to when the woman was murdered and see who did it.

WYATT  
You can do that, Jiya?

Jiya is suddenly very unsure, perhaps a little afraid.

JIYA  
Yes, I could, but I don’t want to.

RUFUS  
(softly)  
Why not?

JIYA  
You didn’t see him, see Stanley in that bed, completely removed  
from the here and now. I don’t want to end up like that.

RUFUS  
(takes her hand)  
You won’t.

JIYA  
You don’t know that. Looking into the past… it’s different  
than looking into the future. It _feels_ different.  
(beat)  
I spent over a year trying to be able to look back, pinpoint  
an exact time and place. And finally, I found myself standing  
in the halls of the Library of Alexandria. It was... breathtaking.  
(beat)  
I wake up to Molly, crying beside me. I hadn’t woken up for three days.  
I hadn’t eaten or drank... I could have died. 

Rufus wraps his arms around her while Wyatt offers a sympathetic hand on her shoulder.

WYATT  
It’s okay, Jiya. We’ll do another round of interrogations.  
The sleeper will slip up. 

Off Jiya as she stares at the suspects, waring with herself over the fact she could end this right now...

END SCENE

INT – FIONA’s DINER – DAY

Police, Fire, Ambulance, and Forensic are all fluttering about the crime scene. 

One of the attackers is zipped up inside of a body bag. 

Cut to... 

INT – HOMELAND SUV – DAY

Lucy and Jeremy sit in the back of an SUV, Denise in the front passenger’s seat. They are alone, presumably sitting in the diner’s parking lot.

DENISE  
(to Jeremy)  
Okay, so what’s this about these guys being after you? 

Jeremy is unsure for a moment, but takes a breath and explains.

JEREMY  
Dad told me I was in line to take the Cahill seat on the Council at  
their next big meeting. That things were a bit chaotic right now,  
but it would get cleared up soon and it would all work out.  
(beat)  
A month ago, I got a visit, from my cousin.  
(looks at Lucy)  
Your cousin too, I suppose. 

Lucy doesn’t want to acknowledge this, so gestures for him to keep going.

JEREMY  
He wanted to talk about the High Seat. About my plans, etc.  
How the seat was empty right now, technically, but someone  
needed to take control. I told him I didn’t honestly know  
anything about the Council, or our seat.  
(beat)  
Then he gave me this look, his whole attitude changed.  
Told me, ‘you know what, don’t worry about it.'  
Two days later, I almost get run down on the street. 

Lucy and Denise exchange glances.

DENISE  
Was that it?

JEREMY  
No, there were a few other close calls. I was almost mugged  
yesterday but a policeman just happened to be around. Anyway,  
too much has happened these past three weeks for it to be a coincidence. 

LUCY  
Your cousin wants the Cahill seat on the Council.

JEREMY  
Yeah, that’s why I came to see my dad, ask him what to do.

LUCY  
But why the sudden change? It seems like your  
cousin was trying to make it not look suspicious.  
Armed men gunning down a diner is pretty suspicious.

DENISE  
Rittenhouse is after you too, Lucy.  
(beat)  
They were following Jeremy. But when they saw you,  
they realized they had an opportunity to take you out,  
and if Jeremy was caught in the crossfire, well, shit happens. 

LUCY  
(beat – numb)  
They really want me dead, don’t they? All of them. 

There is a quiet moment as Lucy lets that sink in.

JEREMY  
I don’t want a seat on the Council.  
I should just tell him to take it.

LUCY  
Don’t think it works that way. Bloodlines are far too important  
to Rittenhouse, like a twisted monarchy. The fact you can  
lay claim to the Cahill seat makes you dangerous. 

Jeremy is upset and afraid at this ultimate truth.

DENISE  
Alright, this is what we’re going to do. I’m going to  
put Jeremy into temporary witness protection.

LUCY  
WIT-SEC? We know Rittenhouse has moles  
in the government. He’d be safer with us.

DENISE  
Don’t think I haven’t been preparing for the time when I might  
need to send one of the team or their families into WIT-SEC.  
I may have had to skirt around a few protocols, but he’ll be safe. 

LUCY  
But—

DENISE  
I’m not letting any more outsiders in, Lucy.  
And that’s final. 

Lucy starts to argue but then remembers the last time they brought someone into the bunker. While the situation is vastly different, Denise is right to be cautious.

Denise pulls out her phone.

DENISE  
Okay, let me make some calls.  
Get everything set up.

LUCY  
We should call the team,  
let them know what’s happening.

DENISE  
They went out on a mission.

LUCY  
(remembering JFK)  
Without me?

DENISE  
Don’t worry, Jiya’s in charge. 

LUCY  
Oh, okay... 

Off Lucy who feels much better knowing this...

END SCENE

INT – VILLA – PARLOR ROOM – EVENING

Wyatt is standing with Lord Byron, John, Claire, and Percy while Jiya and Rufus maintain their position, watching the suspects.

WYATT  
And you’ve noticed nothing strange?  
An odd word you’ve never heard, or phrase?

BYRON  
You mean like _ardent fan_? 

WYATT  
Exactly.

JOHN  
How can a fan be ardent?  
Metaphorical or otherwise?

BYRON  
You know, I’ve been thinking about that. 

Conversation trails off...

POV on Jiya and Rufus. Jiya keeps looking between the suspects and writers.

RUFUS  
Jiya?

JIYA  
Agent Christopher put me in charge.  
(beat)  
And being in charge means making tough calls.

RUFUS  
If you’re thinking what I think you’re thinking, you  
don’t have to do this. We totally understand.  
I don’t want you to end up like Stanley either.

JIYA  
But there is a difference, right? I’m not  
going to a place I want to hang around in,  
I just want to find out who the killer is.

RUFUS  
It’s too risky, it could be addictive, or something.

JIYA  
We can’t sit here and wait for the sleeper to slip up.  
Rittenhouse could show up at any moment.  
The smart call is to do it.

RUFUS  
The smart call is for my girlfriend not to end up in a coma.

JIYA  
I’ll be okay. 

Beat as Rufus isn’t happy with this plan, but realizes he’s not talking her out of it.

JIYA  
I need quiet, so, stay here.  
If I don’t come back in half an hour...  
I dunno, throw me in a puddle outside.

RUFUS  
You want me to Inception you?

JIYA  
Worth a shot? 

Rufus is still clearly not okay with this, but Jiya is determined.

JIYA  
Hey, Wyatt.  
(beat as she gets his attention)  
I’m going to go into the kitchen...  
look for some more clues, or something. 

POV on Wyatt as he frowns slightly, then he looks to Rufus.

POV on Rufus who confirms Wyatt’s suspicion of what Jiya is actually going to do.

On Wyatt...

WYATT  
Okay, just, be careful.

JIYA  
Yeah... 

POV on Jiya who gives Rufus a squeeze of his hand before turning and walking out of the room.

Cut to... INT – VILLA – KITCHEN 

Jiya walks into the kitchen, the body of the woman, Mia, having been covered up by a blanket. 

On Jiya who takes a deep breath, she can do this.

Medium POV, Jiya grabs a chair and places it on the far side, away from the body, and sits down. 

Close POV on Jiya. She closes her eyes and takes several slow breaths. Her eyelids flutter open but her eyes are rolled up in the back of her head as it falls backwards, she’s trembling slightly.

Jiya’s head snaps forward, her eyes wide and no longer rolled back. She’s not trying to look into the future, only replay an event which has already occurred. 

Close up on Jiya’s eyes. The pupils dilate rapidly back and forth, as if it’s a camera trying to focus. This is something we didn’t see with Stanley, and does Jiya even know it’s happening?

Close POV on Jiya, she closes her eyes and becomes very still.

Off Medium POV of Jiya sitting in the quiet kitchen, it is unknown when, or if, Jiya will wake up...

END SCENE

END ACT III

**Notes for the Chapter:**

> Everything that Jiya says about the group is true. The first sci fi novel was written by a teenager who was being dragged around by another teenager who was crushing on the 19th Century equivalent of a boy band.
> 
> And yes, Percy was that big of a disaster, but Mary loved him.


	5. ACT IV

TIMELESS

Episode #303 “Frankenstein’s Monster”

**ACT IV**

INT – VILLA – KITCHEN – EVENING

Jiya is sitting on the chair in the kitchen, everything quiet and still. The body of the murdered servant, Mia, covered by a blanket on the floor.

VFX – The image ripples like a wave, covering up the image changing to pre-attack. 

POV on Jiya who is now standing on the other side of the table. Her color is just slightly off from everything else. Not grayed out, translucent, or sepia... just... off.

Medium POV of the kitchen, the top of the table is clean of debris from the attack. Several wine glasses sit neatly next to a wine bottle. 

SFX – Footsteps and rattling as someone enters the kitchen.

Camera follows the bottle of poison being sat on the counter. The killer’s hand is that of a woman’s and she moves to open the wine.

Camera over the shoulder of the killer to see Jiya looking at her, confused.

JIYA  
(whispers)  
Elsie? 

On Elsie, the nursemaid, as she’s opening the wine bottle.

Medium POV, Mia enters and Elsie grabs the poison bottle, trying to use her body to hide it from view.

ELSIE  
Don’t worry, Mia, I’ll take care of the guests. 

MIA  
(moving forward – Swiss-German accent)  
Thank you, but shouldn’t you be with little William?

ELSIE  
Oh, he’ll be fine. 

Mia realizes something isn’t right by with the way Elsie is acting and covering up.

MIA  
What are you doing? 

Elsie doesn’t answer, which is moot because Mia pushes in. Mia grabs the bottle of poison and looks at it. Elsie stands back, realizing she’s been caught out. She reaches for the nearest weapon, the heavy skillet.

MIA  
Are you trying to get everyone killed? 

On Jiya who is watching and almost feels like she’s literally right there and could do something about it.

JIYA  
(reaching out)  
No! Stop! 

Medium POV, Mia has put the poison down, turning to confront Elsie. Mia only screams as the skillet impacts with her head and she goes down, knocking over everything as she crashes to the floor.

ELSIE  
Damn it! 

Elsie runs from the kitchen through the secondary entrance.

On Jiya who stares down at the now dead Mia. Tears start to form in Jiya’s eyes, feeling helpless even though she literally had no way to affect events that already happened.

Close up on Jiya’s face as she closes her eyes, bringing her hands up to stifle a cry and hold back tears. 

Pull Back on Jiya who has returned to her proper color and is setting in the chair.

Jiya POV on Mia, a lifeless hand poking out from under the blanket.

Off Jiya who is fully crying now, she’s hurting, and she never wants to do that ever again…

Cut to... INT – VILLA – PARLOR 

Everyone is as they were before Jiya left, except Wyatt has returned to stand next to Rufus.

Medium POV of Lord Byron and his friends. Byron gives Wyatt a look of interest, then turns back to continue his discussion.

On Wyatt and Rufus...

RUFUS  
Dude, Lord Byron is in to you.

WYATT  
Yup, just trying to ignore it.

RUFUS  
Oh yeah, I mean, you wouldn’t want to jump into a   
relationship so soon after the whole Lucy/Jessica fiasco. 

Wyatt looks at Rufus as if he doesn’t even know where to start unpacking that sentence.

WYATT  
What?

RUFUS  
(tired)  
You know, we haven’t really talked about the whole,   
your ex-dead wife kidnapping my girlfriend causing   
her to get stranded for three years in the past.

WYATT  
Rufus—

RUFUS  
No, man. You messed up, big.   
Can you at least admit that to me?

WYATT  
(beat)  
Yes. I messed up, messed up big time. I made some wrong   
decisions, decisions I wouldn’t have made if I had just... 

RUFUS  
Thought about others instead of yourself?   
Been honest and open about everything?

WYATT  
Yeah... pretty much...

RUFUS  
(patting Wyatt on the shoulder)  
Look, we’ve been through a lot, and I'm willing to forgive you,   
so long as you’ve learned from all this. Because if you ever get   
Jiya kidnapped or stranded again, gloves are off. 

WYATT  
(half laugh)  
Okay, that’s fair.

RUFUS  
I mean it. I may not be Delta Force, but I’m pretty sure I can   
talk Flynn into shooting you for me, wouldn’t take much. 

Before Wyatt can properly respond, Jiya comes walking into the parlor.

On Jiya who is looking upset, perhaps a little possessed and traumatized by what she saw.

RUFUS  
Jiya? 

Jiya ignores Rufus and moves to stand in front of Elsie who is close to the fireplace, the Gardener she’s sleeping with next to her.

JIYA  
(to Elsie)  
It was you.   
You just bludgeoned her without a thought.

ELSIE  
I would never do such a thing. 

JIYA  
You’re the sleeper.

PERCY  
Sleeper? She’s William’s nursemaid. 

Everyone starts to move forward, drawn in by the scene.

WYATT  
(standing next to Jiya)  
You sure about this.

JIYA  
As if I saw it with my own two eyes.

WYATT  
(to Elsie)  
I think we should have another little chat. 

Wyatt trains his gun on Elsie. The gardener starts to get protective of Elsie.

GARDENER  
(Swiss-German accent)  
Now wait, you can’t show up here, accuse the lady of murder. 

WYATT  
I’m not a hundred percent sure you’re not working with her.   
Stand aside.

GARDENER  
I will not! 

The gardener lunges at Wyatt, grappling for the gun. It goes off, shooting high into the plaster walls.

Everyone in the room reacts, running or jumping, going for some kind of cover. Rufus grabs Claire and ducks her behind a piece of furniture. 

The gun goes flying, landing under a large, heavy cabinet as Wyatt and the gardener resort to fist-a-cuffs. 

On Elsie who, knowing her cover is blown, sees her chance, and starts to break for it. Jiya grabs at her.

Medium POV as Wyatt fights the gardener and Jiya takes on Elsie.

The gardener is untrained in military combat but seems to know some boxing, which is what their fight begins to boil down to.

Elsie is fairly skilled in combat, her form more exact, modern. Jiya doesn’t care about form, she fights dirty. Jiya’s regency dress doesn’t give her a lot of leg movement against Elsie whose servant dress is free flowing. Jiya pushes Elsie back long enough to grab her own skirt and hike it up. When Elsie lunges for Jiya, she is able to kick Elsie square in the chest. 

On Elsie who flies back into the wall, knocking her head and crumbling to the ground.

On Wyatt and the gardener. Wyatt tosses the man over his shoulder and he lands on the sturdy low table. Wyatt throws another punch to knock the man out.

Medium POV as Wyatt and Jiya catch their breaths, seeing that both people were subdued. 

Lord Byron starts to slow clap.

BYRON  
Brilliant! 

Off Wyatt giving Jiya a silent plea for help and her responding with an ‘you’re on your own’ look...

Cut to... INT – VILLA – PARLOR

Camera on Elsie who is tied up, sitting on the floor in front of the sofa which shows that some time has passed. The gardener is also tied up, but on the opposite side of the room.

Medium POV, Mary and Flynn have rejoined the group. Mary is standing with Percy as they and the others are talking to Wyatt. Flynn is digging the bullet out of the wall with a knife because he’s the only one who can reach it.

WYATT  
So, we’d appreciate it if you, you know, kept our names out of it.

BYRON  
I dare say you are quite the unforgettable bunch,   
but we can keep this just between us.

WYATT  
Yes, well, thank you. Ah, we’ve determined the gardener   
wasn’t working with her. He fell for her act too.   
You can let him go once we’re gone.

JOHN  
Of course. Thank you, for stopping this… sleeper?   
I still don’t understand the term.

WYATT  
It’s an American slang, don’t worry about it.

JOHN  
Slang? 

Off Wyatt who realizes he probably should stop talking while he’s ahead…

On Rufus and Jiya who are standing in front of Elise. Flynn walks up, having removed the bullet, which he now hands to Jiya.

FLYNN  
Here you go, one bullet, slightly used.

JIYA  
Thanks. I doubt what happened here will be kept a   
total secret, and we can’t have some fan dig this out   
as a souvenir and realize it’s not period accurate. 

RUFUS  
To be honest, I’m surprised none of the junk we’ve   
left around—bullet casings, clothes—haven’t been   
found and started conspiracy theories yet.

JIYA  
You should ask Lucy about the Jesse James photo. 

Wyatt walks up to the group.

WYATT  
We’ll have to make two trips. We can turn Elsie here over   
to Agent Christopher and let Homeland take it from there.

ELSIE  
(accent is now American)  
You should just kill me.   
I’m not going to talk, so it’ll save you the trouble.

WYATT  
Finally bagging a sleeper, it’s no trouble at all.  
(beat)  
So, who’s going to stay and keep an eye on things? 

RUFUS  
You can stay. I’m sure Lord Byron would enjoy your company.

WYATT  
Flynn, you seem to have a rapport with Mary.   
Why don’t you stick around, in case we’ve missed something?

FLYNN  
Why not. Just make sure you come back for me.

WYATT  
We will. In fact, Jiya, do you want to stay as well?   
I know you haven’t really had a chance to speak to Mary,   
she being one of your idols and all. 

Jiya is a bit distracted, staring down at Elsie, pensive thoughts across her face.

JIYA  
Yeah, no, that would be great.  
(to Elsie)  
Elsie Duvillard, she was mentioned in the biographies.   
I don’t think you are the same Elsie I remember.

ELSIE  
(scornful)  
After that god-awful boat ride over here, it was   
just so much easier to kill her and take her place.

JIYA  
You’re such a Ritten-bitch. 

Medium POV as Wyatt reaches down to pull Elsie to her feet.

WYATT  
It will take a few hours to recharge the Lifeboat, then we’ll be right back. 

JIYA  
(leaning into Rufus)  
Have a safe trip.

RUFUS  
I will. 

The two kiss, like it’s an everyday thing, an easy way to show their undying affection for each other.

RUFUS  
Make sure she writes that book. 

Rufus and Wyatt leave with Elsie. Lord Byron watches Wyatt go, disappointment on his face. John gives his friend a sympathetic pat on the shoulder.

On Jiya and Flynn as Mary approaches.

MARY  
Are you not going with them?

JIYA  
Our, ah, carriage, it’s really small.   
They’ll be back for us.

MARY  
I see, well, you are more than welcome to stay.

JIYA  
Thank you.  
(starts to fangirl again)  
You know, it really is a pleasure to meet you.   
I have so many questions I want to ask.

MARY  
Really? Of me? You are quite a curious bunch.   
(to Flynn)  
Though I would enjoy finishing our conversation.

JIYA  
(looking between them)  
What were you talking about?

MARY  
He was telling a rather horrific story, and to be   
terribly honest, I was rooting for the monster. 

Jiya looks at Flynn who is at a bit of a loss as he is clearly the monster that Mary is rooting for.

Off Mary who has a devious and clever grin on her face, this is the woman who will write _Frankenstein_...

END SCENE

EXT – ABANDONED GAS STATION – DUSK

On an empty stretch of road, an abandoned gas station sits in ruins. Three dark SUV’s crowd the parking lot. Agent Christopher can be seen standing in the middle, talking to a few government looking types. Lucy and Jeremy are leaning up against one of the SUV’s.

On Lucy and Jeremy…

LUCY  
You can trust Agent Christopher.   
If she says you’ll be safe, you’ll be safe.

JEREMY  
This is just… insane. I should be starting college, not…   
not going into witness protection because my cousin wants   
to usurp my seat on a council I know nothing about.

LUCY  
Would it make you feel better to know that you’ve got it easy?

JEREMY  
(beat)  
I’m sorry.

LUCY  
Don’t be.   
(beat)  
Neither of us asked for any of this. Our parents made decisions for us.   
But it doesn’t mean we’re bound to the choices they’ve made.   
We’re only Rittenhouse if we choose to be. 

Jeremy takes in her words, nodding timidly, wanting to believe her, find some strength there.

LUCY  
(softly)  
Come here. 

Lucy pulls Jeremy into a loose hug, patting him on the back, making sure he knows he’s not alone in this.

Denise approaches as the siblings pull away.

DENISE  
Are you ready to go, Jeremy? 

JEREMY  
Yeah, sure. 

DENISE  
I have some agents who will stay with you. You’ll go   
through arrest photos and give us details on your cousin.   
It’ll be a big help in stopping Rittenhouse.

JEREMY  
Whatever I can do.  
(to Lucy)  
I know we still barely know each other, but thank you.

LUCY  
For what?

JEREMY  
For being my sister. 

Lucy isn’t sure how to respond.

WIT-SEC AGENT  
(off camera)  
Agent Christopher, we’re ready.

DENISE  
Time to go. 

Jeremy nods at Denise, then at Lucy, and lets himself get led away by the Wit-Sec Agent.

Lucy POV as she watches him get loaded into one of the SUV’s.

On Lucy and Denise…

DENISE  
We’ll get Amy back. 

Lucy looks like she’s about to argue that she wasn’t thinking of her lost half-sister. Instead, she nods gratefully, knowing she’s still got family, even if they aren’t blood.

Off wide POV of the SUV’s pulling out and driving down the empty road…

END SCENE

END ACT IV


	6. TAG

TIMELESS

Episode #303 “Frankenstein’s Monster”

**TAG**

INT – TIME TEAM HQ – KITCHEN – DAY

Rufus and Jiya are sitting at one of the tables, laptop and books strung out in front of them. Looks like they are reading up on Mary Shelley, _Frankenstein_ , and the history they changed.

Wyatt enters, grabbing himself a cup of coffee.

WYATT  
Looks like everything turned out okay.

JIYA  
Yeah. I’ve already re-read _Frankenstein_ , and  
other than a few minor changes, it’s the  
same story that launched a legend.

RUFUS  
Knowledge is knowing Frankenstein isn’t the monster.  
Wisdom is knowing Frankenstein _is_ the monster. 

Beat as there a general appreciation for Rufus’s commentary.

Another beat as Wyatt works himself up into saying something.

WYATT  
Jiya. I… I realized I haven’t really apologized to you,  
for the role I played in your kidnapping. 

Jiya and Rufus exchange glances, like maybe they’ve discussed this recently.

WYATT  
I should have… I should have said something when things started  
not adding up. I didn’t want to believe Jessica was Rittenhouse,  
that she would be capable of doing something like that.  
(beat)  
I messed up, and I’m sorry, for whatever that’s worth. 

Beat as Jiya thinks over his apology and how she will respond.

Jiya stands up, grabbing a book from the pile.

JIYA  
You weren’t the only one fooled.  
(walking around table to Wyatt)  
But you knew her better than any of us. So, yeah,  
I blame you a little for everything that happened. 

Wyatt isn’t going to argue with her, though he also offers no other apologies or assurances.

JIYA  
I know how you can make it up to me. 

Jiya slaps the book she grabbed against Wyatt’s chest, he takes ahold of it. Wyatt looks at the title.

WYATT  
_The Complete Works of Lord Byron_.

JIYA  
It has a new addition, thanks to our crashing the party. 

RUFUS  
A new canto called _The Ardent Fan_.

It takes a moment for Wyatt to realize why Jiya and Rufus are suddenly grinning at him.

WYATT  
Oh… no…

JIYA  
Yep. The character may be named Wilhelm, but he’s quite clearly you.

RUFUS  
(reading from his laptop)  
Scholars call it one of Byron’s best, a “perfect study  
in forlorn desires played out in erotic subtext.”

WYATT  
(expressionless)  
I’m never living this down, am I?

JIYA  
Nope. 

WYATT  
Okay… 

JIYA  
I want you to read it, aloud, so I can record it as an audio book,  
then we’ll call it even for the whole kidnapping thing.

WYATT  
I’m not exactly a voice actor.

JIYA  
I’m sure you’ll make do. 

Wyatt sighs, accepting his fate, much to his chagrin.

SFX – Three beeps denoting incoming text messages. 

Rufus is first to his phone as it’s next to his laptop. He reads the message.

RUFUS  
Group text from Lucy.  
Says meet in the kitchen. 

The three glance between each other, then Lucy and Denise walk into the kitchen. Lucy is looking a bit cagey, especially when she sees that Wyatt, Rufus, and Jiya are already waiting on her.

WYATT  
What’s this about?

LUCY  
I have some news, about Rittenhouse.  
Let’s just wait till everyone is here. 

Mason walks in, followed a beat later by Flynn.

DENISE  
Before Lucy says what she needs to say, I just want to let you  
all know the sleeper is in solitary confinement on a black site.  
If she gives up any actionable intel, we’ll be the first to know.  
Good job catching her.

WYATT  
A lot of credit goes to Jiya on that one.  
She went above and beyond to uncover the sleeper.

JIYA  
You’re still reading the canto.

WYATT  
That’s… not…

DENISE  
You worked together as a team, and  
that’s the only way we’re going to win. 

LUCY  
Which brings me to why I called this… meeting.  
(beat – has everyone’s undivided attention)  
As you know, I visited Benjamin Cahill, my… biological father.  
He confirmed what I had already suspected, that there is  
a Council of Elders running Rittenhouse. 

WYATT  
Why wasn’t this information in the documents Ethan Cahill left for us?

LUCY  
I don’t know. Maybe it was and we missed it? Maybe they  
kept him a bit more isolated because he didn’t measure up  
to their standards? But we have a lead, my half-brother,  
through the Cahill’s. He’s going to help us.

RUFUS  
Wait, scary Rittenhouse dude has a son? 

Jiya smacks him in the arm.

RUFUS  
Sorry, I mean, your biological father has a son?

LUCY  
Call him whatever you want, but yes, he has a son and he’s  
currently in witness protection. It seems our actions in arresting  
so many Rittenhouse members has led to some in-fighting. 

RUFUS  
That’s good, right?

FLYNN  
In-fighting leads to destabilization, and that can  
make a bad situation worse for everyone involved.

LUCY  
We’ll figure it out, we’ll keep fighting, and we’ll stop Rittenhouse. 

There is a general murmur of agreement, but this just makes Lucy more anxious.

LUCY  
Before we continue though, there’s  
something I need to tell all of you. 

The mood shifts, everyone sensing that they need to brace for what Lucy is about to say.

LUCY  
When I was held captive, my mother told me something  
I need to share with you. I didn’t before because…  
because I didn’t want to believe it. But there is no  
denying the truth so, I’ll just come out with it.  
(beat – takes a deep, anxious breath)  
I am a… I am a direct descendent of David Rittenhouse. 

There is a shifting quiet as the team takes this in.

RUFUS  
Wait… what?

WYATT  
You’re saying John Rittenhouse had kids and…  
(vague hand gestures)

LUCY  
That’s exactly what I’m saying.

FLYNN  
(realization, upset)  
Lucy… if I had shot him…

LUCY  
But you didn’t, so it doesn’t matter now. 

Flynn looks away, stewing in the thoughts of what he almost did.

LUCY  
I’m sorry that I kept this from you, and I understand  
if you’re angry with me because of it.  
But I am not Rittenhouse.  
I will _never_ be Rittenhouse. 

Quiet moment passes as everyone takes this all in.

Camera shows Lucy standing separate from the group, self-isolated. 

Jiya is the first to act, moving forward to envelope Lucy in a wordless hug. It takes Lucy a second before she can hug Jiya back.

Rufus moves next, on the heels of Jiya. He hugs Lucy from the side, arms wrapped around both women.

Denise moves in and places her hand firmly on Lucy’s free shoulder, a stabilizing force. 

Mason shows his support with a gentle squeeze to her upper arm, holding on with the rest of them.

On Wyatt and Flynn, both support Lucy but have their reasons for hesitating in this intimate display of affection. 

On Wyatt who is remembering just how badly he hurt Lucy, emotionally, with his poor decisions. Does he have the right to provide emotional comfort now, as a friend?

On Lucy who holds out her hand from where she is hugging Jiya.

LUCY  
(at Wyatt)  
It’s okay. 

Wyatt moves forward and takes her hand, Lucy giving him a reassuring squeeze.

On Flynn who is thinking of how he almost erased the rest of Lucy’s family, just as he had erased Amy. How Lucy would have come back to a present where she would have never existed at all. 

On Lucy who holds out her other hand and wordlessly communicates that it’s okay for him as well. 

Flynn moves and takes her hand, holding it in both of his. 

Medium POV of the team anchoring Lucy. 

Off this shot… the camera slowly panning out and fading to black…

END SCENE

END TAG

END CREDITS

END EPISODE

NEXT EPISODE:

TIMELESS

Episode #304 "Non-Standard Oil"

EMMA  
I’m going to let you in on a little secret. If you ever want   
to get something done, and I mean really make a change,   
quick fixes like altering a war or killing a music trend isn’t going to cut it. 

JESSICA  
What do you mean?

EMMA  
To paraphrase a classic…   
(imitates Jeff Goldblum)  
History, uh, finds a way.   
(beat)  
Throwing a rock in a river isn’t going to change its course.

JESSICA  
Are you talking about fate? Destiny?

EMMA  
I’m talking about the fact that you don’t get anything   
out of life without putting in the hard work.   
You gotta play the long con.

JESSICA  
And what long con are you playing? 

Emma simply smiles at Jess, as if it’s kind of adorable that Jess would expect her to answer. 

**Notes for the Chapter:**

> Thank you again for reading!  
> The next episode is in the works.  
> Emma, Jess, and Nicholas are back... oh dear...
> 
> Until then, check out "In Search of Mary Shelley" by Fiona Sampson for more details on Mary Shelley and Percy 'Human Disaster" Shelley.


End file.
